COURSES, LECTURES, & SEMINARS

jkw_MM053114_009.jpg

EXAMPLES OF SPECIAL SEMINARS AVAILABLE FOR GUEST APPEARANCES

Choose Your Universe

A tour among examples of this composer’s works exploring how propositional models for musical worlds energize his composing practice, which often collapses distinctions among formal percepts and embraces a dynamic dimensionality in musical structures that may be fundamentally emergent and/or co-creative.

Deviant Resonances—Listening to Evolution—Propositional Music of Many Nows—Musical Configuration Spaces and the Networked Possible—Nature’s Creative Challenge to Absolute Mappings of Biological Phenomena in Music

This is a set of modular topics that can be arranged and adapted to the purposes of the sponsoring organization and their target audience. As a starting point, they all begin with the premises of Propositional Music: building proposed models of worlds, universes, evolution, brains, consciousness or whole domains of thought and life, and then proceeding to make dynamical musical embodiments of these models, inviting us to experience them in spontaneously emerging sonic forms.

Notation as Interface

Interactive systems permeate our culture: interactive devices, interactive software, interactive installations and artistic realizations, new methods for communicating, and new ways of engaging in signifying meaning, and new semantic forms. Naturally, interface design—not only via technology—has become a vigorous quasi-discipline that is widely discussed, talked about, and taught. As the very conception of what music can be has also evolved, especially in the 20th and 21st Centuries, concepts about the functions, meaning, and efficacy of various kinds of music notation have also evolved. Notation has emerged from its role in Western classical music, as a tool to concretize iconic musical objects, into a vast open arena of new functions in processes of creative invention, realization, transcription, and co-creation.

Collaborative Strategies

Today we live in a transdisciplinary and transgenerational world. More than 40% of the world’s population is under the age of 25. Some of their characteristics include: global connectedness, collaborative and social impulses, high expectations, inquisitive and creative engagement, being customizers and experimenters, blending personal and professional lives, and being determined with a sense of urgency. Their inspirations are largely pan-stylistic, genre deviant, collectively emergent, perceived as socially relevant, and they want to have a creative role in the music they play and the art they make. These characteristics profoundly influence emerging arts today.

We are also witnessing the re-emergence of the idea of the collective, especially among young artists. It seems natural, then, that new experimental opera, a fundamentally collaborative art form, is being fueled by the current social atmosphere. Collaborative strategies are essential for success in the creation, production, and evolution of opera. Old forms (often very expensive) are morphing into new challenging forms (often more achievable) and are being applied in new socio-cultural and socio-economic contexts. In this class we will collectively explore this territory and interact in generating speculative conclusions.


EXAMPLES OF COURSES DESIGNED AND TAUGHT FROM APPROXIMATELY 1968 TO THE PRESENT

Electric Circus for New York University

Intermedia Workshop on Computers in the Arts

Intermedia Institute Inc., New York

A Systems Theoretical Approach to Art Media

York University, Department of Music, Division of Interdisciplinary Studies in Fine Arts, Interdisciplinary University Graduate Studies

Sonic Imagery and Improvisation
Composition Studio I and II
Electronic Media Workshop I and II
Special Studies in Composition and Analysis
Sources of Contemporary Style
Instrumentation, Arranging and Studio Production
Introduction to the History and Literature of Electronic Music
Fundamentals of Musical Perception
Music Writing Workshop: An Introduction to Composition
Graduate Composition Seminar
Perceptual Processes in the Arts
Contemporary Media, Methods and Research I and II
A Systems Theoretical Approach to Art Media
Sound Design in Relation to Studies of Consciousness
Studies in Musical Perception (Graduate)
Interdisciplinary Honors Project and Seminar
Psychophysics and the Arts
Special Topics in Music Computation
Music Performance in Piano, Violin, Viola, Percussion,
Chamber Ensembles, Contemporary Music Ensembles, Orchestra,
Improvisation Ensembles, Live Electronic Music Ensembles,
Conducting, Interdisciplinary Performance Art Ensemble
Graduate Thesis Advisor (M.F.A., M.A., Ph.D.)

Mills College, Department of Music

Advanced Theory I and II
Research Seminar in Music Theory (Graduate)
Theoretical Foundations of Electro-acoustic Music
Score Reading and Conducting
Seminar in Electronic and Computer Music I and II (Graduate)
Selected Problems in Composition I and II (Graduate)
Individual Lesson Instruction in Piano and Composition
Selected Problems in 20th-Century Performance and Literature (Graduate)
Thesis Advisor (M.A., M.F.A.)
Seminar in Composition, Performance, and Improvisation

San Francisco Art Institute: Humanities and Interdisciplinary Divisions, Electronic Arts Program

Contemporary Music
Artificial Intelligence in the Arts
Interdisciplinary Colloquium/"Monday Night Lectures"

University of Illinois, School of Music

Graduate Composition Seminar (during visiting artist residencies)

California College of the Arts

Sound Workshop: Propositional Music

Simon Fraser University, Summer Music Intensive, Vancouver

Interactive Music Software and Composition

California Institute of the Arts

Graduate Composition Seminars (various special topics)
Graduate Composition Instruction
Faculty Contemporary Ensemble,
Conductor/Director, CalArts New Century Players,
(resident professional ensemble including graduate performers)
Advanced Interactive Music Software
Sound Design (digital signal processing and synthesis)
Advanced Interactive Languages (interactive software for music)
Seminars in Interdisciplinary Art
Piano Instruction
Improvisation Instruction
Chamber Music Coaching
Teaching the Teacher, modules on music cognition, music and neuroscience (DMA level)
Professional Development (DMA level)
History and Literature of the Performer-Composer (DMA level)
Performer-Composer Seminar (DMA level)
Composers and Choreographers

Bard College, Milton Avery Graduate School of the Arts, Annandale-On-Hudson, New York

Graduate Instruction, Music/Sound Arts

Center for Advanced Musical Studies at Chosen Vale

Summer sessions as composer-in-residence in International Trumpet and Percussion Courses; classes in performer-composer practices, technology and instruments, improvisation, ensemble direction

Ionian University, Korfu, Greece

Summer session on advanced propositional music, emergent forms and self-organizaing systems in music, algorithmic composition and algorithmic improvisation, perception of musical forms and ideas about time and interactive processes in the arts. 

DR at SATE Conference 2017 1.JPG
DR_circuitsmile copy.jpg
jkw_MM053114_008.jpg
IMG_2221.jpg